Sam Maloof Double Rocking Chair leads our five lots to watch

Sam Maloof double rocking chair, estimated at $30,000-$50,000 at Los Angeles Modern Auctions (LAMA) on April 30.

Sam Maloof Double Rocking Chair

VAN NUYS, CA – A Sam Maloof double rocking chair will be offered on Tuesday, April 30 as part of the Design auction at Los Angeles Modern Auctions (LAMA).

Maloof (1916-2009) was one of America’s top woodworkers, recognized by the MacArthur Foundation as its first-ever craftsman recipient of its so-called ‘Genius Grant’. Born to a family of Lebanese immigrants, his designs were featured in numerous Case Study Homes of the postwar period designed by Richard Neutra, Charles Eames, and Eero Saarinen.

Made of select walnut and ebony – Maloof kept thousands of board-feet of exotic lumber in his shop in Alta Loma, California – the rocker is dated to 2006 and is incised No. 13 2006 Sam Maloof d.f.a. r.i.s.d. / M.j. l.w. d.w. Originally from a private collection, the double rocker sold at Bonhams in April of 2018, where it made $35,000 including buyer’s premium.

LAMA has similar expectations, assigning the rare example an estimate of $30,000-$50,000.

Circa-1840 William Henry Harrison Political Needlework Sampler

Needlework sampler mentioning US presidential candidate William Henry Harrison, estimated at $4,000-$8,000 at Amelia Jeffers on May 4.
Needlework sampler mentioning US presidential candidate William Henry Harrison, estimated at $4,000-$8,000 at Amelia Jeffers on May 4.

DELAWARE, OH – Amelia Jeffers brings a unique circa-1840 needlework sampler, estimated at $4,000-$8,000, to market as part of her Friday, May 3 and Saturday, May 4 sales. Featuring stylized flowers and leaves with a cider barrel, log cabin, and an American flag with Liberty imprinted on it, the inscription reads To log cabin frugality we owe our independence.

It also includes the words Wm. Harrison and Worked by Mary Jane Mitchell, Halifax Ky. Jeffers believes this 17.5-by-17in (44-by-43cm) sampler is from Allen County, Kentucky, and the maker is likely Mary Jane Mitchell Claypool (1831-1913). She was the daughter of Henry Shelby Mitchell, a constable of Allen County, and Malinda Burton. He and Malinda had nine children, including sons William Henry Harrison Mitchell (1837-1913), named for the president, and Henry Clay Mitchell (1844-1911), named for the Kentucky legislator, gifted orator, and unsuccessful presidential candidate.

A former American military officer, William Henry Harrison ran for president in 1840 and won the election, but after only 32 days in office, he died, marking the shortest presidential term in American history. Mary Jane’s sampler, sporting the cider barrel and log cabin motifs of Harrison’s campaign, indicates her family’s preference in the election and serves as a unique reminder of homegrown political support when the country was still young.

Mechanical Magic Lantern Slide of a Steam Ship Crossing the English Channel

'The Steamer Crossing from Dover to Calais,' a special mechanical magic lantern slide dating to the late 19th century, estimated at £1,500-£2,500 ($1,865-$3,110) at Flints Auctioneers on April 30.
'The Steamer Crossing from Dover to Calais,' a special mechanical magic lantern slide dating to the late 19th century, estimated at £1,500-£2,500 ($1,865-$3,110) at Flints Auctioneers on April 30.

THATCHAM, UK — Of all the magic lantern slides available in the days before film, the most desirable were the ‘mechanicals,’ characterized by their intricate clockwork mechanisms. Turning the handle caused hand-painted layers of glass to glide seamlessly over one another and created the impression of movement. 

They were remarkably costly at the time — at least 30 times the price of a single painted slip slide — and typically only sold in small numbers to late 19th-century showmen who would charge per viewing. Some were made only to special order. 

The sale at the British scientific instruments specialists Flints Auctions on Tuesday, April 30 includes a slide that follows the journey of a steam ship crossing the English Channel from Dover, England to the French port of Calais.  

Various mechanisms bring the entire scene to life, causing the ship to pitch and toss on the rough seas. Made a decade before the advent of cinema, it astounded contemporary audiences. Today it is estimated at £1,500-£2,500 ($1,865-$3,110).

Circa-1870-1877 Coquanoc Works Three-bladed Folding Knife

Coquanoc Works three-bladed folding knife, possibly made for the 1876 Centennial Exposition in Philadelphia, estimated at $5,000-$8,000 at Freeman’s Hindman on May 1.
Coquanoc Works three-bladed folding knife, possibly made for the 1876 Centennial Exposition in Philadelphia, estimated at $5,000-$8,000 at Freeman’s Hindman on May 1.

CINCINNATI – This three-bladed folded knife by the Coquanoc Works cutlery company is massive and was probably made for display rather than use. The knife measures 12in (30cm) closed, with the overall length being 2ft 4in (71cm) when the primary and one of the secondary blades are open. All three blades are marked on their ricassos in two lines: Coquanoc Works/Philad’a.

Relatively little is known of the Coquanoc Works cutlery company run by Howard W. Shipley, although the firm appears to have been in business for a limited amount of time in Philadelphia between 1870 and 1877. Knives by this maker are extremely rare, and it is assumed that this knife, with its German silver bolsters and pinned ivory scales, was produced for display at the 1876 Centennial Exposition in Philadelphia. It will be offered at Freeman’s Hindman as part of its Premier Arms, Armor & Militaria Sale on Wednesday, May 1. The estimate is $5,000-$8,000.

Detail shot of a Coquanoc Works three-bladed folding knife, possibly made for the 1876 Centennial Exposition in Philadelphia, estimated at $5,000-$8,000 at Freeman’s Hindman on May 1.
Coquanoc Works three-bladed folding knife, possibly made for the 1876 Centennial Exposition in Philadelphia, estimated at $5,000-$8,000 at Freeman’s Hindman on May 1.

‘Moulin Rouge, La Goulue’, Which Launched Toulouse-Lautrec’s Poster-making Career

‘Moulin Rouge: La Goulue’, an original lithograph poster by French artist Henri de Toulouse-Lautrec, estimated at $60,000-$80,000 at Auctions at Showplace on May 5.
‘Moulin Rouge: La Goulue’, an original lithograph poster by French artist Henri de Toulouse-Lautrec, estimated at $60,000-$80,000 at Auctions at Showplace on May 5.

NEW YORK – Moulin Rouge, La Goulue was Henri de Toulouse-Lautrec’s first commissioned poster, and it launched his poster-making career overnight. Printed in 1891, two years after the bawdy Moulin Rouge nightclub had opened on the boulevard de Clichy in the Montmartre district of Paris, he chose as his subject its star performers, Valentin le Désossé (Jacques Renaudi), known as the ‘boneless’ acrobat, and also dancer Louise Weber, whose can-can skirts were lifted at the finale of the chahut. Nicknamed La Goulue, which translates to ‘the glutton,’ she took her stage name from her habit of draining patrons’ drinks in one gulp while she danced among the tables.

At the time of poster mania in Paris, the 6ft 2in (1.85m) four-color lithographic poster was probably printed in a run of around 3,000, but relatively few have survived. This copy on two sheets of wove paper glued to board has an estimate of $60,000-$80,000 as part of a 280-lot sale at Auctions at Showplace on Sunday, May 5. It comes from a Park Avenue collection.

‘Father of American Studio Glass’ Harvey Littleton collection emerges at Habatat May 2

Harvey Littleton, Rocker Series, estimated at $20,000-$25,000 at Habitat.

TROY, MI — Harvey Littleton (1922-2013) was born into a family of glass experts at Corning Glass in upstate New York. His mother Bessie was a key figure in developing Corning Pyrex cookware, now an American collectible icon.

Though initially a ceramicist, he became intrigued with the idea of working in glass at lower temperatures that would not require an industrial environment. He designed his own equipment and methodology, and after his first efforts in the late 1950s, the American studio glass movement was born.

As a faculty member at the University of Wisconsin, Littleton would teach and mentor some of the biggest names in American studio glass, such as Dale Chihuly and Fritz Dreisbach.

With such a long life (he died at age 91), Littleton had a massive output during his career, but that does not translate to lower prices in today’s market. With three key works by Littleton appearing in Habatat Galleries’ MasterWorks sale on Thursday, May 2, expectations are high for beating the top estimates. The complete catalog is now available for review and bidding at LiveAuctioneers.

The top Littleton lot is part of his Rocker Series dated to 1989. As Habatat notes, “The color of this hot sculpted sculpture is more impressive in person.” Signed by Littleton and from a private collection, the work is estimated at $20,000-$25,000.

Segmented Form (Rainbow Shard) is from 1986 and measures 7 by 9 by 3.5in without the slightly worn base. The Segmented Form Series features a layering technique that Harvey started using the early 1980s. Signed by the artist, it is estimated at $3,500-$5,500.

This hot-sculpted work by Littleton is from his Geometric Series and dates to 1979. It measures 4.5 by 4.5 by 2in, is signed by the artist, and carries an estimate of $3,500-$4,500.

Seascapes and river art flow into Jasper52 May 1

G. S. Gomolsky, 'Sea Shore,' estimated at $6,650-$9,500 at Jasper52.

NEW YORK — Stunning works of art focused on the magic of water come to Jasper52 on Wednesday, May 1 as Aqua Dreams: Seascape and River Art. The sale begins at 3 pm Eastern time on that date exclusively at LiveAuctioneers.

Bakaev Sergey Ivanovich (b. 1922-) is a Ukrainian artist who served in World War II in the Red Army and was awarded two service medals. He became a painter and lived in Yalta, where he created Rocks, a seascape oil on cardboard measuring 27.5 by 37.4in. The work is estimated at $12,950-$18,500.

Varvarov Anatoly Viktorovich (b. 1967-) is also Ukrainian and a member of the 1990s ‘Squat on Olehivska’ art commune, which tried to push the boundaries of what art means. His work Wave measures 23 by 15.25in and is an oil on canvas. It is estimated at $14,350$20,500.

Sea Shore is an oil on cardboard credited to G. S. Gomolsky, which measures 23.22 by 15.35in and has an estimate of $6,650$9,500.

Outsider art gets the spotlight at Material Culture April 29

Hector Hyppolite, 'Self-Portrait with Family,' estimated at $75,000-$100,000 at Material Culture.

PHILADELPHIA — Set as a no-reserve auction, Material Culture brings more than 500 lots of Outsider art to the block Monday, April 29 with Fine Folk Outsider. The complete catalog is now open for bidding at LiveAuctioneers.

Hector Hyppolite (1894–1948) has been called the ‘Grand Maître of Haitian Art.’ Entirely self-taught, Hyppolite was discovered by American artists visiting Haiti, who immediately began purchasing his works and taking them back to the United States. The sale is led by a Hyppolite original, Self Portrait with Family, dating to around 1946. The oil on board has been widely exhibited. Material Culture’s experts believe the work is Hyppolite’s sole portrayal of his family, possibly inspired by a lost photograph. It is estimated at $75,000-$100,000.

Vu Cao Dam (1908-2000) is best remembered for his paintings, making this figural sculpture in terracotta all the more interesting. Measuring 8.5 by 5.5 by 5.5in, it is estimated at $30,000-$50,000.

The sale also includes six works by Edger Jean-Baptiste (1917-1992). Known for his use of light, Jean-Baptiste became a darling of the American artist class, with motion picture director Jonathan Demme even holding an exhibition for him in 1994. The oil-on-canvas Fisherman on Sailboat was formerly in the Yvonne and Glenn Stokes collection. It comes to market with an estimate of $4,000-$6,000.

Speaking of directors, the sale also includes two works by legendary filmmaker David Lynch (b. 1946-), best known for Eraserhead and the Twin Peaks miniseries. Man Throwing Up is an acrylic and resin on canvas that has been widely exhibited. It is estimated at $15,000-$30,000. 3 Leaves, Tree, Pink Worms is undated but described as ‘early.’ The mixed media and acrylic with a leaf collage is estimated at $10,000-$20,000.

W. C. Fields’ crooked pool cue prop pockets almost $10K at Potter & Potter

W. C. Fields’ Ziegfeld Follies-used crooked pool cue prop, shown with a provenance letter from Red Skelton, which sold for $7,500 ($9,375 with buyer’s premium) at Potter & Potter March 28.

CHICAGO – A stage-used ‘crooked’ pool cue prop owned by legendary entertainer W. C. Fields (1880-1946) came to market at Potter & Potter March 28 as part of its 625-lot Entertainment, Toys & Collectibles sale. Full results for the auction can be seen at LiveAuctioneers.

The cue was a prop employed by Fields in his routine with comedian Ed Wynn during Fields’ first year with the Ziegfeld Follies in New York. Running from 1907 through 1931 with later revivals, the follies were elaborate theatrical revues featuring dancing girls who would parade around dressed as literally anything, from “birds to battleships,” according to PBS’ Ziegfeld Biography. Notably, famed 20th-century designer Erté served as a designer on the Follies.

When Wynne was getting laughs from under a pool table while Fields was shooting, Fields would “smack Ed Wynn over the head during” the bit, according to accounts from the time.

The cue was consigned with a typewritten and signed letter from entertainer Red Skelton (1913-1997), who received it as a gift from Fields prior to his passing. Skelton wrote the letter to magician Tom Mullica, who was given the cue – and clear provenance – by Skelton on February 20, 1984. Mullica kept the cue and letter until he sent it to auction in 2016.

Interestingly, Skelton ends the provenance letter with a then-timely opinion about comedian Eddie Murphy, whose career was skyrocketing. “You mention Eddy [sic] Murphy, you are right, he is filthy.” Estimated at $1,000-$2,000, two dozen bids took the cue to pool shark heaven, hammering at $7,500 ($9,375 with buyer’s premium).

Boy-king Edward VI portrait comes for sale at Andrew Jones April 28-29

English School portrait of King Edward VI, estimated at $30,000-$50,000 at Andrew Jones.

LOS ANGELES — A portrait of Edward VI, the Tudor monarch who reigned as a boy for just six years from 1547 to 1553, will be presented at Andrew Jones Auctions. Estimated at $30,000-$50,000, it is among the highlights of a single-owner collection from Pebble Beach, California offered on Sunday, April 28 and Monday, April 29.

As the male heir to the throne and the future of the Tudor dynasty, a number of portraits of Edward exist showing him as both the Prince of Wales and as a nine-year-old king. This image, depicting him wearing a black and gold embroidered doublet trimmed with ermine, copies a full-length portrait known in several versions that is associated with the workshop of the enigmatic court artist ‘Master John.’ Seemingly an Englishman, he came to prominence in the years after the death of former court favorite Hans Holbein in 1543. The ‘Master John’ portrait of Edward in the National Portrait Gallery was almost certainly painted immediately after Edward became king in 1547.

The Pebble Beach picture – a half-length oil on a cradled panel measuring 2ft 5in by 22in (74 by 56cm) – is cataloged as ‘English School 16th or 17th century.’ It has a detailed provenance since the 19th century, having previously been in the collection of Kimbolton Castle, the country house in Cambridgeshire, England that is most famous as the final home of Henry VIII’s first (divorced) wife Catherine of Aragon, who died there in 1536. The picture was deemed sufficiently important at the time to hang at some of the most famous exhibitions of the Victorian era. It was part of the Exhibition of Art Treasures held at Manchester Botanical Gardens in 1857, the largest temporary art exhibition in British history, with more than 16,000 works of art and 1.3 million visitors. In 1866, it was among the 1,035 pictures shown in London at the South Kensington Museum (later the V&A Museum) at the first Exhibition of National Portraits, and in 1890, it was at the Exhibition of the Royal House of Tudor at the New Gallery, a Bond Street address in London that is now the flagship store for the Burberry brand.

The only surviving son of Henry VIII by his third wife, Jane Seymour, Edward VI (1537-1553) was king of England and Ireland from 1547 to 1553. The first English monarch to be raised as a Protestant, he was crowned on February 20, 1547, at the age of nine, and died on July 6, 1553, when he was 15 years old. Despite attempts to prevent the country’s return to Catholicism, his Catholic half-sister Mary I succeeded him.

The portrait is one of several Old Master paintings in the single-owner collection on offer at Andrew Jones. Estimated at $50,000-$70,000 is a Venetian painting depicting the visit of the British diplomat Charles Montagu (1662-1722), 1st Earl of Manchester, to the Venetian court in 1698.

Montagu’s mission in Venice was multifaceted: to affirm and strengthen the Anglo-Venetian alliance, to secure support against France in the unfolding scenarios of European politics, and to promote English trade interests.

This monumental canvas, measuring 4ft 3in by 6ft (1.3 by 1.8m), was painted by a Venetian artist at the time to record his first audience with the Doge and the Senate.

Previously unrecorded portrait of Benjamin Franklin heads to Freeman’s Hindman April 30

An unrecorded portrait of Benjamin Franklin (1706-90) attributed to Mason Chamberlin, estimated at $50,000-$80,000 at Freeman’s Hindman.

PHILADELPHIA — A previously unrecorded portrait of Benjamin Franklin will appear at Freeman’s Hindman with an estimate of $50,000-$80,000 this month. The new discovery, which bears striking similarities to the well-known portrait of the Founding Father by Mason Chamberlin in the collection of the Philadelphia Museum of Art, was recently found in Italy.

Freeman’s Hindman date its picture to circa 1778, 16 years after the portrait in the PMA was commissioned by the Virginia landowner Colonel Philip Ludwell III. In 1762, Chamberlin (1727-87) had painted his subject from life in London, showing Franklin seated in his study surrounded by three of his experiments. Franklin was delighted with the results and distributed copies of the mezzotint (later made by the engraver Edward Fisher) to his friends for the next 10 years.

This later work, offered for sale on Tuesday, April 30 as part of an auction of American Furniture, Folk and Decorative Arts, shares many of the same characteristics. Although Franklin is depicted as an older gentleman, he is seated in the same chair and at the same table in the same room. In both works, Franklin wears a powdered wig with a distinctive center-front top knot and a brown suit with covered buttons.

However, while in the PMA’s portrait the sitter is portrayed as a scientist, in the later picture he is shown with spectacles and an open book as a philosopher or a statesman.

An inscription to the reverse of the canvas references an earlier attribution to the Venetian artist Pietro Longhi (1701-1785). However, the auction house believes it is also by Mason Chamberlin, painted around two years after the Declaration of Independence.

The discovery of the portrait in an Italian collection is not as incongruous as it may first sound. The portrait has a long history in Italy, where, through his diplomatic missions and Enlightenment thinking, Franklin was well known. His impact on political, social, and economic aspects of Italian life is the subject of the 1958 book Benjamin Franklin and Italy by Antonio Pace.

Clementine Hunter, an artist pure and true

Clementine Hunter’s circa-1970s painting ‘Uncle Tom & Eliza in the Flower Garden’ features a favorite motif of the artist: zinnias. It sold for $16,500 plus the buyer’s premium in April 2021. Image courtesy of Slotin Folk Art Auction and LiveAuctioneers.

NEW YORK – Sometimes described as the Deep South’s version of Grandma Moses, Clementine Hunter (1886 or 1887-1988) took up painting late in life, in the 1940s, when she was a grandmother. By then, she had seen many changes, living under Jim Crow laws and with the prolonged aftermath of slavery in the South.

Hunter was born and raised on the Hidden Hill Plantation near Natchitoches, Louisiana, and was the granddaughter of Creole people who had been enslaved. Hidden Hill is said to be the inspiration for the famed anti-slavery novel Uncle Tom’s Cabin, and it was later renamed Little Eva Plantation after a character in the book. At age 15, Hunter’s father was hired as a laborer at Melrose Plantation down the road. She followed him there to pick cotton, and saw that plantation devolve from a functional farming operation to surviving only by welcoming artists in residence.

One of Clementine Hunter’s earliest paintings was ‘Early Funeral’, which she painted on a window shade. The work achieved $70,000 in September 2021 and holds the world record for the artist at auction. Image courtesy of Neal Auction Company and LiveAuctioneers.
One of Clementine Hunter’s earliest paintings was ‘Early Funeral’, which she painted on a window shade. The work achieved $70,000 in September 2021 and holds the world record for the artist at auction. Image courtesy of Neal Auction Company and LiveAuctioneers.

Like many self-taught Southern folk artists, Hunter made her art with found materials. According to the National Museum for Women in the Arts, she rendered her first painting, depicting a baptism in the river, on a window shade with paints discarded by one of the Melrose Plantation artists. “She used whatever surfaces she could find, drawing and painting on canvas, wood, gourds, paper, snuff boxes, wine bottles, iron pots, cutting boards, and plastic milk jugs,” the museum’s website states.

‘Doctor Comes A’ Callin’’, a circa-1940s work by Clementine Hunter, went for $15,000 plus the buyer’s premium in November 2020. Image courtesy of Slotin Folk Art Auction and LiveAuctioneers.
‘Doctor Comes A’ Callin’’, a circa-1940s work by Clementine Hunter, went for $15,000 plus the buyer’s premium in November 2020. Image courtesy of Slotin Folk Art Auction and LiveAuctioneers.

Describing her as a memory painter, Steve Slotin, co-owner and operator of Slotin Folk Art Auction in Buford, Georgia, said Hunter portrayed the plantation and its rural setting and culture, which was fast disappearing. “She saw a whole different lifestyle than most people would ever have the opportunity to see – cotton picking, harvesting of pecans, the [river] baptisms, and the simple life of living in this rural existence,” Slotin said. “She documented it all and did it in a very pure and simple way that still resonates.” One such documentary work by Hunter is Doctor Comes A’ Callin’, recording an era when doctors would routinely make house calls to see patients. The circa-1940 oil on cardstock went for $15,000 plus the buyer’s premium in November 2020 at Slotin.

Hunter’s gift emerged when the Melrose Plantation curator-artist Francois Mignon gave her some art materials, and she returned the next morning with a finished painting. “He recognized it as her having a lot of talent and encouraged her to continue,” Slotin said. Her work improved after she received a steady stream of better materials, freeing her from scavenging nearly empty paint tubes from the artists’ trash. “That’s really how she got started,” he said.

Detail shot of Clementine Hunter’s circa-1970s painting ‘Uncle Tom & Eliza in the Flower Garden’, which sold for $16,500 plus the buyer’s premium in April 2021. Image courtesy of Slotin Folk Art Auction and LiveAuctioneers.
Detail shot of Clementine Hunter’s circa-1970s painting ‘Uncle Tom & Eliza in the Flower Garden’, which sold for $16,500 plus the buyer’s premium in April 2021. Image courtesy of Slotin Folk Art Auction and LiveAuctioneers.

Her fame truly spread when Look magazine ran a feature story on her in 1953 and the Delgado Museum (now known as the New Orleans Museum of Art) mounted a solo exhibit of her work in 1955, the first time a Louisiana museum did so for an African American artist. Segregation laws barred Hunter from seeing it during the museum’s public hours, however.

Neal Auction Company in New Orleans has witnessed a lot of interest in paintings by the Louisiana artist from collectors both near and far. “The market for Clementine Hunter’s work has been on an upward trajectory over the last few years, with new collectors continually joining the fray. Her works are consigned to us primarily from the South, but are increasingly going to collections both private and public nationwide,” said Marney N. Robinson, the firm’s director of fine art.

Detail of Clementine Hunter’s signature on ‘Early Funeral’, which achieved $70,000 in September 2021. It represents the world auction record for the artist. Image courtesy of Neal Auction Company and LiveAuctioneers.
Detail of Clementine Hunter’s signature on ‘Early Funeral’, which achieved $70,000 in September 2021. It represents the world auction record for the artist. Image courtesy of Neal Auction Company and LiveAuctioneers.

The top price on the LiveAuctioners platform for Clementine Hunter is Early Funeral, the aforementioned oil painting on a window shade laid on Masonite, which attained $70,000 plus the buyer’s premium in September 2021 at Neal Auction Company. “This work is a particularly early example from Hunter,” Robinson said. “It came from the estate of Iris Brittain Rayford, who amassed one of the most important collections of early Hunters seen to date.”

‘Woman Carrying Gourds’, an oil on board by Clementine Hunter, made $68,000 plus the buyer’s premium in September 2021. Image courtesy of Neal Auction Company and LiveAuctioneers.
‘Woman Carrying Gourds’, an oil on board by Clementine Hunter, made $68,000 plus the buyer’s premium in September 2021. Image courtesy of Neal Auction Company and LiveAuctioneers.

Clementine Hunter’s oeuvre draws its appeal from its subject matter and its honesty. “Entirely self-taught, she disregarded formal perspective and scale to create vibrant scenes that were both autobiographical and universal in many ways,” Robinson said. Hunter realized a vivid tableau of plantation activities in Woman Carrying Gourds, an oil on board that made $68,000 plus the buyer’s premium at Neal Auction Company in September 2021 and also came from the Iris Brittain Rayford collection.

Detail of Clementine Hunter’s ‘Woman Carrying Gourds’, which made $68,000 plus the buyer’s premium in September 2021. Image courtesy of Neal Auction Company and LiveAuctioneers.
Detail of Clementine Hunter’s ‘Woman Carrying Gourds’, which made $68,000 plus the buyer’s premium in September 2021. Image courtesy of Neal Auction Company and LiveAuctioneers.

“Collectors value genuineness, a strong quality in Hunter’s and many other self-taught artists’ works. I see collectors gravitating toward this rawness and also looking to strengthen their collections with works by women artists and those previously overlooked in the traditional canon,” Robinson said. “Hunter not only became a successful female Black artist, but her work also largely featured strong women undertaking the tasks of traditional country life.”

Slotin has watched the market for Hunter’s work soar to unprecedented heights. “It’s a little mind-blowing for us, because in the ‘80s we were trying to present her work to the public, and we were getting $1,000 to $2,000 for a painting,” he said. “Now you see them at $5,000, $10,000, $15,000, and $20,000, and the market has tightened up a bit as more collectors get in and there are fewer works available.”

An untitled circa-1980s oil on board by Clementine Hunter showing Melrose Plantation, her home starting when she was a teenager, realized $18,000 plus the buyer’s premium in April 2024. Image courtesy of Swann Auction Galleries and LiveAuctioneers.
An untitled circa-1980s oil on board by Clementine Hunter showing Melrose Plantation, her home starting when she was a teenager, realized $18,000 plus the buyer’s premium in April 2024. Image courtesy of Swann Auction Galleries and LiveAuctioneers.

He has also seen Hunter’s work attract the attention of art forgers. Bogus Hunters were prevalent enough in the late 2000s to prompt an FBI investigation. Robinson said her auction house defended itself against this grim fact by developing a relationship with Tom Whitehead, a longtime friend of the artist, to authenticate all Hunter paintings it offers. Among the works authenticated by Whitehead is an untitled Hunter painting of Melrose Plantation, her home as of her teenage years, which realized $18,000 plus the buyer’s premium in April 2024 at Swann Auction Galleries.

This 1950 oil on canvas board painting by Clementine Hunter, ‘Baptismal Procession’, earned $17,000 plus the buyer’s premium in May 2023. Image courtesy of Auctions at Showplace and LiveAuctioneers.
This 1950 oil on canvas board painting by Clementine Hunter, ‘Baptismal Procession’, earned $17,000 plus the buyer’s premium in May 2023. Image courtesy of Auctions at Showplace and LiveAuctioneers.

Hunter’s religious-themed works rank among her most sought-after subjects. Baptismal Procession, an oil on canvas board dating to 1950, sold for $17,000 plus the buyer’s premium at Auctions at Showplace in May 2023. The epitome of folk art, this energetic painting depicts people holding parasols outside a church while others gather in the river to be baptized. As is typical for Hunter, she paints her figures in bright colors.

Another detail of Clementine Hunter’s circa-1970s painting ‘Uncle Tom & Eliza in the Flower Garden’, which sold for $16,500 plus the buyer’s premium in April 2021. Image courtesy of Slotin Folk Art Auction and LiveAuctioneers.
Another detail of Clementine Hunter’s circa-1970s painting ‘Uncle Tom & Eliza in the Flower Garden’, which sold for $16,500 plus the buyer’s premium in April 2021. Image courtesy of Slotin Folk Art Auction and LiveAuctioneers.

Another of Hunter’s favorite things were zinnias, a flower that loves warm weather and blooms across the South. Uncle Tom & Eliza in Flower Garden, an oil on canvas panel seemingly teeming with zinnias, sold for $16,500 plus the buyer’s premium in April 2021 at Slotin.

Clementine Hunter was both an artist and an archivist, documenting a bygone era with clarity and color. Driven to capture visions of the life she knew, she shared her art with countless others who saw its power and its grace. Though it might look unstudied and even crude, the fundamental purity and the truth of her work shines forth and moves viewers, regardless of where and when they were born.

‘Gone With The Wind’ shooting script could exceed $25K at Piece of the Past April 28

'Gone with the Wind' original shooting script bound by producer David O. Selznick, estimated at $15,000-$25,000 at Piece of the Past.

TEMPE, AZ — An original shooting script for Gone with the Wind is among the many stars of stage and screen that come under the hammer without reserve on Sunday, April 28. The script, one of the few that escaped destruction during the rewrites, is estimated at $15,000-$25,000 in the Piece of the Past auction now open on LiveAuctioneers.

Bringing Margaret Mitchell’s Civil War epic to the big screen proved a famously herculean task, replete with countless changes and revisions. Gone with the Wind is a Holy Grail of film-script collecting because most of them were gathered up by producer David O. Selznick and burned. Only a handful of the January 24, 1939 shooting scripts are known to have survived, with this example (numbered 00111) having been professionally bound and given as a gift by Selznick himself. The inscription in ink reads For Yvette Curran, The Champion fan of GWTW David O. Selznick Twenty-five years later! It was last sold by Profiles in History in the 1990s.

Also offered in this no-reserve sale is an umbrella signed by Singing in the Rain star Gene Kelly (1912-1996) in the year before he died. The catalog entry records that Kelly was signing 100 photos for charity when Piece of the Past specialist Kevin Martin said, “I bet people ask you to sign their umbrellas all the time.” When Kelly said he could not recall ever signing one, he boldly signed his own umbrella and gave it to Martin as a souvenir. In his personal collection for more than 25 years, it will be offered with an estimate of $1,750-$3,500.

Expected to lead the line at the ‘1 of a Kind’ auction is a Babe Ruth-signed league ball that features ‘the best darkest signature to come to market in some time’, together with faded ink notes detailing how it was acquired. Offered with full credentials, it is estimated at $50,000-$100,000.

Pair of 18th-century side tables from Scottish country house exceed $289K at Lyon & Turnbull

Circa-1770 pair of Italian giltwood tables with brecce pernice marble tops, which hammered for £220,000 ($278,675) and sold for £288,200 ($289,060) with buyer’s premium at Lyon & Turnbull on March 27.

EDINBURGH, UK – A pair of 18th-century Italian giltwood side tables from a Scottish country house hammered for £220,000 ($278,675) and sold for £288,200 ($289,060) with buyer’s premium at Lyon & Turnbull on March 27. They were consigned from Penicuik House in Midlothian, where they had likely been since the 18th century. Full results for the auction can be seen at LiveAuctioneers.

The pair of giltwood side tables, with their somewhat menacing dolphins or sea serpents carved to the frieze, do not appear in the Penicuik papers or invoices, but they were recorded among the pieces saved from a fire at the house in 1899. It is believed that the impressively thick 4ft 11in by 2ft 9in (1.57m by 82cm) brecce pernice marble slabs may have been part of the shipment of marble slabs sent to Penicuik from Rome in the late 1760s. The transaction was arranged by John Baxter the Younger, the son of Penicuik’s chief architect, John Baxter.

Following interest from all across the US, Europe, and the UK, and following a long bidding battle between the internet and the phones, the tables sold to an international buyer some distance above the £40,000-£60,000 ($50,665-$75,995) estimate.

Penicuik Estate, situated to the southwest of Edinburgh at the foot of the Pentlands in Scotland, has been owned by descendants of the merchant John Clerk (1611-1674) since the middle of the 17th century. Sir James Clerk, 3rd Baronet of Penicuik (1709-1783) built a neo-Palladium house there in the 1760s, appointing John Baxter as the architect and James Blaikie as his master carpenter.

In June 1899 a fire gutted the building, although most of the original furniture and works of art were saved. After the 18th-century house was demolished, the adjacent Georgian stable block was converted into the family home. As the property is now being used for leisure and hospitality, the Clerk family offered 69 lots of furniture and works of art at the Lyon & Turnbull sale titled Home & Heritage: Property from Three Historic Houses.